礁岩滄海搜藝—以台灣海域景點為題之創作研究

水墨畫是中華民族文化的結晶，經歷兩千多年的演變與發展，已有輝煌的歷史與成就，可與西洋藝術相媲美，但明、清以來，顯然有衰退的傾向，民國初年，經過蔡元培、徐悲鴻、劉海粟等提倡革新，百年來亦有相當的成績，民國38年政府遷台以後，不少大陸名家，帶來中原文化的藝術思想，在台灣數十年亦有營造相當成就，營造台灣水墨畫風格，應是當前水墨畫創作的重要目標。筆者以「礁岩滄海搜藝—以台灣海域景點為題之創作研究」，作為探索營造台灣水墨畫新風格的一種嘗試。本研究應用藝術史研究法、文獻探討、田野調查實地野生等方法匯集相關資料，並透過對藝術的界義及自然美與藝術美的比較。山水畫的發展及筆墨意涵的探討，凝聚為創作理念，進行理論與創作研究。全部論文分為五章十三節，其中第一章緒論與第四章節外，每章之前都有「小引」略述該章研究的重點，各章之後不作「小結」，分別留為第三章建構創作理念及第四章作品解析，時互為引用或作結論。第一章緒論筆者以「無意」進入水墨創作領域，「好奇」、「好玩」而發現水墨畫的問題，因而投入專心研究，而以台灣海域的礁岩滄海作為研究主題，並以山水畫寫生有關的技法、內涵為範圍，以蒐集相關理論史論作參考，進行寫生創作為方法。第二章文獻探討，本章從兩個主題分四節進行分析探討，第一、二節從藝術與美的問題，說明藝術的定義與自然美、藝術美的比較，重點界定在美術與由寫生進行創作的「美」。以標定本研究的方向與目標。第三、四節則以水墨畫發展史與水墨畫創作不可缺少，也是水墨畫最具特色的筆墨技法與內涵，探求如何建構創作理念與進行實際的創作探討。第三章創作理念與實踐分四節，第一節由水墨寫生創作討論，人與自然的關係，並如何由「師天」、「外師造化」的進行創作。第二節討論民族文化對藝術創作的影響，以儒家孔子的「仁」產生的中道思想與道家老、?T的「道」演變出來的「無為自然主義」對水墨畫創作的審美標準影響。第三節時代性與創作，從傳統與現代探討如何建構創新理念，並從題材、技法進行求新求變，達成台灣水墨畫新風格的建立。第四章作品解析，第一節描述了本研究階段性的創作概況，並分析台灣東部、東北角、西北角及佳樂水、貓鼻頭、澎湖等海域地質地形特色。第二節作品解析，從本研究的二十張作品中選七件代表作，每件作品各依創作理念，學理基礎、內容形式、材料技法、整體表現分別解說。第五章結論與省思，台灣水墨創作必須顧及傳統與文化特質，和更新表現技法及審美標準，強調台灣地區的開放與特殊地質、地形、地貌，才能建立台灣獨特新風貌，而現階段缺乏傳統技法和書法、文學的內涵都有待加強，至於如何進行才能達到至善的境界，須待更多有心人的投入。綜合以上各要素，理出筆者創作理念的具體建構，並嘗試實務創作，分析台灣海域的礁岩與滄海，並依顏崑陽《莊子藝術精神析論》的麗、雅、樸，三個人為雕飾的因素，做為作品的評鑑準則的分析。

關鍵字

礁岩；水墨創作；台灣海域

並列摘要

Chinese traditional ink painting is a fruitfully national structural achievement. It has experienced with evolution and development for 200 more years. Its brilliant history and achievement can be comparable with Western arts. But after Ming and Qing dynasties, the development started to decay. In the early years of republic government, with the advocating and reforming effort made by Cai, Yuanpei, Xu, Beihong and Liu Haisu for a century, there has been remarkable achievement reached. After the KMT government moving to Taiwan in 1949, there have been numerous excellent artists from Mainland China infusing art thinking from the mid-earth areas. For decades, they have achieved abundantly much to create local Chinese traditional ink paintings in Taiwan. This is exactly the primary goal for local artists’ effort in traditional ink paintings. The author proposes a research titled “Rock and sea performance-take Taiwan sea area scenic spot creation of research as topic” and it is meant to explore the new art styles of traditional ink paintings in Taiwan. This research is adopted with some methods like applied history of research methods, review of scientific lectures, filed research and on-site research to gather data. Also, with the definition of art and the comparison between the beauty of nature and art separately, the development of landscape paintings and exploration on painting contexts are cohered as creative ideas to implement the research of theory and creativity. This article is divided into 5 chapters and 13 sections. Among them, except Chapter 1 - Introductory and Chapter 4, there are summaries arranged at the initial parts of for every chapter to summarize the research focus in the chapter. There are also some sub-conclusions placed at the chapter end separately available for mutually citing and concluding at Chapter 3 – Constructing Creativity Theories and Chapter 4 – Analysis of Artworks. Chapter 1 is titled “No Intention” to step into the domain of traditional ink paintings and emphasis effort is spent on relevant issues by posing the curious and funny attitude. The research theme is focused on reef waters surrounding Taiwan. Also, it is also exemplified with the contexts and skills of landscape sketching to gather data from some relevant theories and histories as the reference for sketching ways. Chapter 2 is the review of scientific lectures. This chapter starts from 2 themes divided into 4 sections. The research aims to explore the ways how to construct creativity ideas and implement practical creativity. Chapter 3 deals with the ideals and implementation of creativity divided into 4 sections. Section 1 deals with the correlation between humans and nature by discussing the sketching of ink paintings, along with the ways how to model after the nature and extensively create new art styles. Section 2 deals with the influence on art creativity exerted by national culture. The culture is centered with the aesthetic standards for art creativity of ink paintings, namely the “benevolence” of Confucianism and "naturalistic inaction" of Taoism. Section 3 deals with the features of era and creativity to explore the ways how to construct new concepts in terms of both traditional and modern thinks. Also, by using subjects and skills, new local art styles of ink paintings in Taiwan can be achieved. Chapter 4 deals with the analysis for artworks. Section 1 describes the brief situation of creativity at research stages. Furthermore, oceanic geological features of some areas like the eastern, northeastern, northwestern parts of Taiwan, along with some waters nearby Jialersui, Maobitou and Penghu, are explored. Section 2 deals with the analysis for artworks. From totally 20 pieces of artworks listed in this research, there are 7 samples selected with each artwork explained separately in terms of creativity ideals, theory foundation, art contexts, material and skills, and overall performance. Chapter 5 deals with the conclusion and reflection. Local ink paintings in Taiwan must concentrate creativity effort on both traditions and culture features, along with new skills and aesthetic standards. The openness and the special features of geology, landforms and geomorphy are highly emphasized to construct new unique facades of Taiwan. However, currently, traditional skills and calligraphy arts show their deficiency with literature contexts urgently required for enhancement. As for the ways how to reach ultimate perfection, it is still required for much more enthusiastic effort. To sum up aforesaid elements, the creativity ideals of author are concretely established. Practical creativity is also attempted to analyze reef waters surrounding Taiwan. Also, based on the 3 major spiritual elements proposed by Yan, Quenyang (Spiritual Analysis Theory about the Thinking of Zhuangzi), namely magnificence, elegance and simplicity are served as appraisal principles for artwork analysis.